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The House of Special Purpose

Published Wednesday 1 July 2009 at 11:45 by Mike Sell

This world premiere of Heidi Thomas’ new play about the last days of the Romanov Family in captivity in Ekaterinburg appears to be accessible at a number of different levels - as a drama documentary, as an analogy to the more modern Stockholm syndrome, even as a love story - but it makes for extremely good theatre. However, much conjecture is necessary to identify its rationale. Above all this is definitely a meeting of two worlds in one small space, with great tensions both within individuals and groups.

The design by William Dudley is evocative yet utilitarian and conveys just the right scenario within which the tragic events of 1918 were acted out. The scene changes, largely undertaken by the cast, were a delight to watch. Director Howard Davies made this into a company performance in which each member of the cast was so choreographed and sure that they were a true ensemble.

Adrian Rawlins played the deposed Tsar Nicolas II, with great subservient dignity. His wife, Alix, Clare Holman, was both feisty and resigned, yet awaited release from captivity with impatience. Their daughters, played by Lydia Wilson, Kate O’Flynn, Caroline Martin and Annabel Scholey, were recognisable as teenagers with the usual characteristics of that age group. Alexei was finely played by Jonathan Bailey.

Their captors, in some of whom underlying humanity was writ large, included Ukraintsev, splendidly played by Gunnar Cathery, and Kieran Bew’s Yakunin, whose laundry scenes were well controlled. Gerard Monaco was an ideal Chelnik and the Commandant of Tony Turner showed him as a moderate man.

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